Get Apple Music on iOS, Android, Mac, and Windows

EDITORS’ NOTES

Those who think Travis Scott is only about partying and turning up, you’re partially right. Yes, he gets lit like a Christmas tree but the hangovers and consequences are real. Hence, the title Rodeo. Songs like “Wasted,” “Maria I’m Drunk,” and “Antidote” feel like cautious odes to overindulgence more than condoning nihilistic behavior. Much like Kanye’s Yeezus, an album Travis Scott was all over, Rodeo is filled with dark synths, darker context, and a generous brush of Auto-Tune. And it sounds equally good whether you’re wilding out with your friends or chilling by yourself in the dark.

EDITORS’ NOTES

Those who think Travis Scott is only about partying and turning up, you’re partially right. Yes, he gets lit like a Christmas tree but the hangovers and consequences are real. Hence, the title Rodeo. Songs like “Wasted,” “Maria I’m Drunk,” and “Antidote” feel like cautious odes to overindulgence more than condoning nihilistic behavior. Much like Kanye’s Yeezus, an album Travis Scott was all over, Rodeo is filled with dark synths, darker context, and a generous brush of Auto-Tune. And it sounds equally good whether you’re wilding out with your friends or chilling by yourself in the dark.

TITLE

TIME

Pornography

3:51

Oh My Dis Side (feat. Quavo)

5:51

3500 (feat. Future & 2 Chainz)

7:41

Wasted (feat. Juicy J)

3:55

90210 (feat. Kacy Hill)

5:39

Pray 4 Love (feat. The Weeknd)

5:07

Nightcrawler (feat. Swae Lee & Chief Keef)

5:21

Piss On Your Grave (feat. Kanye West)

2:46

Antidote

4:22

Impossible

4:02

Maria I'm Drunk (feat. Justin Bieber & Young Thug)

5:49

Flying High (feat. Toro y Moi)

3:28

I Can Tell

3:55

Apple Pie

3:39

Ok Alright (feat. ScHoolboy Q)

6:57

Never Catch Me

2:56

16 Songs, 1 Hour 15 Minutes

Released: Sep 4, 2015

℗ 2015 Epic Records, a division of Sony Music Entertainment

About Travis Scott

Travis Scott has helped define the sound and feel of 2010s rap, imbuing tough, surrealistic trap with a distinctly pop appeal. Raised in the suburbs of Houston, Scott (born Jacques Berman Webster II in 1992) first made noise as an in-house producer for Kanye West’s G.O.O.D. Music, working on the 2012 label showcase Cruel Summer and 2013’s Yeezus, which arrived mere weeks after he dropped his debut mixtape, Owl Pharaoh. He went on to bring his gothic-edged sound to Drake, Migos, Madonna, and Rihanna (“Bitch Better Have My Money”), while his own solo albums—2015’s Rodeo and 2016’s Birds in the Trap Sing McKnight—playfully drew the commercial center of rap toward the avant-garde. Take 2018’s ASTROWORLD, a swirling, almost psychedelic set that not only managed to pull together Quavo, John Mayer, Tame Impala, and Sheck Wes on the same album, but also had them gel—a testament to Scott’s vision as an artist and superlative curator. Like West, his mentor, Scott has also brought tremendous energy to his live shows, creating a stage-diving, punk-like spectacle that revitalizes a space that too many rappers inhabit on autopilot.